Group Show at Meyer Riegger

(link)

We'll just list some decent work in this exhib: Mauser's crushed can Kobros, Saâdane Afif's baroque citational posters, Salvo's pre-Nicolas Party awkward, Posenenske's tableaus, Armleder's power-farts, etc.
But can we talk about that Miriam Cahn painting. Jesus. Attaining that magic otherness of "outsider" artists without actually being so. Soft horror, childlike and maternal. A crepuscular thumb indeterminate. The marks seem to stand more for actions than depiction, as in a face constructed of movements against it, but way less theatrical than Bacon. of the horror of our features removed, of the loss of the container, flesh. Such gentle, tender, violence.

Nicolas Party at Gregor Staiger , Miriam Cahn at Jocelyn Wolff , Group Show at David Kordasky

Group Show at David Kordansky

Everyone loves the smell of their own brand, and the miasmia of this "immersive installation" wafts in with a laugh of its aesthetic impropriety.  Like a fart joke. The bastardization of the proper. Stray paint and design faux-pas. Even the more tasteful tinged yellow by Armelder's power bomb of a painting. It's a gas. Paintings which look the way "oopsie" sounds. Whether or not anyone else loves is it in relation to how deeply trapped they are with it. Fart aesthetics in the high speech.


see too : John Armleder at Fernand Leger , Ida Ekblad at Herald St.

John Armleder at Fernand Léger Foundation

(link)

Armleder the center node between Mike Kelley’s playful aesthetic abuse in Broodthaers institutional mocking mis-en-scene, the potted plants to prove it, an assault on taste in a “bad painting”-cum-“Bad interior design installation.” A good Armleder show leaves you feeling molested. It’s the lightness with which Armleder creates aesthetic tragedies that is his gift. The stretched ratio of the vinyl, a guitar next to a minimalist painting, a couch, it’s all so .... plain. The banality of evil, the plainness of aesthetic abjection.